View from The People’s Republic in Museum of Liverpool. Image Ant Clausen

We did it! We won!

Thank you to all the people who took the time to vote for this spectacular view. We are very proud to announce it is officially the My Glazing.com‘s Window with a View winner!

There was stiff competition from all corners of the UK and Museum of Liverpool‘s window, located in The People’s Republic gallery, was competing not only other busy urban scenes, but with beautiful views of British countryside too. However it was this vast window, which provides such a stunning picture frame for the city and river, which won the most votes.

Janet Dugdale, Director of the Museum of Liverpool, said:

“The view from the Museum of Liverpool is much-loved by local people, as well as our visitors from across the UK and around the globe, so we’ve always known it is very special but to win this award is a fabulous achievement!

“The window is an incredible vantage point. It takes in the Three Graces on Liverpool’s iconic waterfront, but it also looks out across the River Mersey and towards the Irish Sea. The view encompasses so much of what makes Liverpool unique, from its heritage and architecture to its people and geography.”

View from The People’s Republic in Museum of Liverpool. Image Ant Clausen

We are thrilled to have won the regional competition and now be the North West’s entry for the UK’s Best Window with a View. The race is now on for an overall winner so we’re asking for your help again!

After a huge online vote, which saw thousands of people choose their favourite views in the MyGlazing competition, the view from The People’s Republic gallery, looking out over the Pier Head, Three Graces and River Mersey, was chosen as the best in the region.

It is now competing against eleven others which represent the rest of the UK. Rolling green countryside, British wildlife and other urban landscapes are all in the running but as good as they are we think none compare with the beauty, heritage and romance captured in our view.

Janet Dugdale, Director of the Museum of Liverpool said: “The Museum of Liverpool has two giant picture windows at either end of the building, offering fantastic views of the city and the River Mersey. The view from The People’s Republic gallery is particularly special, as it looks out over the Three Graces – three iconic buildings spanning more than 100 years of the city’s history.

“This view shouts ‘Liverpool’, and is recognised by so many people around the world. We think the view is spectacular, and we’re over the moon that people voted so strongly to crown it the best ‘Window with a View’ in the region. We hope people will continue to vote so that we can be in with a chance of winning the national title.”

Click here to vote for your favourite and be in with a chance of winning a Fujifilm Instax camera from MyGlazing.

The 128 page full-colour publication by writer, art historian and curator Christopher Newall, features more than 100 works by celebrated Pre-Raphaelite artists.

The book positions Liverpool as the Victorian art capital of the North and examines the patrons and painters in Liverpool who embraced the Pre-Raphaelite movement. Essays explore the relationship between artists such as Ford Madox Brown and Rossetti and their Liverpool contemporaries, collectors and the institutions that welcomed them, notably the forward-thinking Liverpool Academy. Featuring insights from contributing writers Ann Bukantas and David Taylor, patronage is explored as an important aspect of British artistic culture in the 19th century.

To win a signed copy of the catalogue you need to answer the following question:

Our lead marketing image is the beautiful painting ‘In the Grass’ from Museums Sheffield collection, but who is the artist?

We’ll email the winner to let them know that they’ve been successful by 5pm on Wednesday 8 June.

Good luck, but remember if you’re unsuccessful the book is available to buy online or at the gallery.

Terms and conditions

Closing date for entry will be 05/06/16. After this date the no further entries to the competition will be permitted.

There is no entry fee, and no purchase necessary, to enter this competition.

Entry into the competition will be deemed as acceptance of these terms and conditions and agreement to be bound by them.

The competition is open to persons of any age. National Museums and Galleries on Merseyside (operating as National Museums Liverpool ) assumes that by entering into the competition, the parents or guardians of any entrant that is aged under the age of 18 have consented to that person’s entry into the competition, and these rules.

Employees of National Museums Liverpool, or their family members or partners (or anyone else connected in any way with the competition) shall not be permitted to enter the competition.

No responsibility can be accepted for entries not received, for whatever reason.

The rules of the competition, and the prize for each winner, are as follows:

National Museums Liverpool reserves the right to cancel or amend the competition, and these terms and conditions, without notice, in the event of a catastrophe, war, civil, or military disturbance, act of God, or any actual or anticipated breach of any applicable law or regulation, or any other event outside of the promoter’s control. Any changes to the competition will be notified to entrants as soon as possible by the promoter.

National Museums Liverpool is not responsible for inaccurate prize details supplied to any entrant by any third party connected with this competition.

No cash alternative to the prizes will be offered. The prizes are not transferable. Prizes are subject to availability and we reserve the right to substitute any prize with another of equivalent value, without giving notice

Winners will be chosen at random from all entries received and verified by National Museums Liverpool.

The winner will be notified by email. If the winner cannot be contacted, or does not claim the prize, we reserve the right to withdraw the prize from the winner.

National Museums Liverpool will notify the winner of when and where the prize can be collected.

National Museums Liverpool’s decision in respect of all matters to do with the competition will be final, and no correspondence will be entered into.

The competition, and these terms and conditions, will be governed by English law, and any disputes will be subject to the exclusive jurisdiction of the courts of England.

The winner agrees to the use of his/her name and image in any publicity material. Any personal data relating to the winner, or any other entrants, will be used solely in accordance with current UK data protection legislation, and will not be disclosed to a third party without the entrant’s prior consent.

The winner’s name will be available 28 days after closing date by sending a stamped addressed envelope to the following address: Competitions, Marketing and Communications, National Museums Liverpool, 127 Dale Street, Liverpool, L2 2JH

]]>http://blog.liverpoolmuseums.org.uk/2016/05/win-a-signed-pre-raphaelites-beauty-and-rebellion-exhibition-catalogue/feed/6Competition: Win tickets to see Swan Lakehttp://blog.liverpoolmuseums.org.uk/2016/05/competition-win-tickets-to-see-swan-lake/
Tue, 17 May 2016 10:05:08 +0000http://blog.liverpoolmuseums.org.uk/?p=12426The Scottish Ballet’s breath-taking production of Swan Lake is headed for the Liverpool Empire and we’ve got a pair of tickets to give away.

We have a pair of tickets up for grabs for the performance taking place on Wednesday 1st June at 7.30pm. In addition to this, the winner will receive access to a VIP drinks reception – taking place in the piano bar during the interval – along with a programme and an official Swan Lake poster, signed by principle dancer Sophie Martin (Odette).

To be in with a chance of winning, you’ll need to answer this question:

Which composer wrote the original music for Swan Lake?

Email your answer, along with your name, email address and telephone number to prizedraw@liverpoolmuseums.org.uk by midnight on Wednesday 25 May. We’ll email the winner to let them know that they’ve been successful by 5pm on Thursday 26 May.

Good luck!

Terms and conditions

Closing date for entry will be 25/05/16. After this date the no further entries to the competition will be permitted.

There is no entry fee, and no purchase necessary, to enter this competition.

Entry into the competition will be deemed as acceptance of these terms and conditions and agreement to be bound by them.

The competition is open to persons of any age. National Museums and Galleries on Merseyside (operating as National Museums Liverpool ) assumes that by entering into the competition, the parents or guardians of any entrant that is aged under the age of 18 have consented to that person’s entry into the competition, and these rules.

Employees of National Museums Liverpool, or their family members or partners (or anyone else connected in any way with the competition) shall not be permitted to enter the competition.

No responsibility can be accepted for entries not received, for whatever reason.

The rules of the competition, and the prize for each winner, are as follows:

National Museums Liverpool reserves the right to cancel or amend the competition, and these terms and conditions, without notice, in the event of a catastrophe, war, civil, or military disturbance, act of God, or any actual or anticipated breach of any applicable law or regulation, or any other event outside of the promoter’s control. Any changes to the competition will be notified to entrants as soon as possible by the promoter.

National Museums Liverpool is not responsible for inaccurate prize details supplied to any entrant by any third party connected with this competition.

No cash alternative to the prizes will be offered. The prizes are not transferable. Prizes are subject to availability and we reserve the right to substitute any prize with another of equivalent value, without giving notice

Winners will be chosen at random from all entries received and verified by National Museums Liverpool.

The winner will be notified by email. If the winner cannot be contacted, or does not claim the prize, we reserve the right to withdraw the prize from the winner.

National Museums Liverpool will notify the winner of when and where the prize can be collected.

National Museums Liverpool’s decision in respect of all matters to do with the competition will be final, and no correspondence will be entered into.

The competition, and these terms and conditions, will be governed by English law, and any disputes will be subject to the exclusive jurisdiction of the courts of England.

The winner agrees to the use of his/her name and image in any publicity material. Any personal data relating to the winner, or any other entrants, will be used solely in accordance with current UK data protection legislation, and will not be disclosed to a third party without the entrant’s prior consent.

The winner’s name will be available 28 days after closing date by sending a stamped addressed envelope to the following address: Competitions, Marketing and Communications, National Museums Liverpool, 127 Dale Street, Liverpool, L2 2JH

]]>Winning On the Waterfront photograph by Bernard Rose now on displayhttp://blog.liverpoolmuseums.org.uk/2016/05/winning-on-the-waterfront-photograph-by-bernard-rose-now-on-display/
http://blog.liverpoolmuseums.org.uk/2016/05/winning-on-the-waterfront-photograph-by-bernard-rose-now-on-display/#commentsWed, 11 May 2016 17:00:27 +0000http://blog.liverpoolmuseums.org.uk/?p=12335

Winner, Bernard Rose with his winning photograph Ferry Cross The Mersey 1972, holding his original Nikon F camera he used for the photograph in 1972.

It’s been a busy week at the Museum in the lead up to LightNight this Friday, with a brand new addition now finding pride of place in our On the Waterfront exhibition.

Bernard, accompanied by his wife Enid met deputy director of Merseyside Maritime Museum, Ian Murphy to see his winning entry, which is now on display as part of the exhibition until it closes on 19 June 2016.

“I took the photograph in 1972 when I was 17, it was the day I was taking my 3 year old sister Christina for her “rite of passage” first ever trip on a ferry. I was working then as a black and white darkroom printer for the Liverpool commercial photographers, Elsam, Mann and Cooper, based in Princes Road. Naturally then I was keen on my photography so always had a camera with me.

During our trip which was on the original Royal Daffodil I took a series of shots. The children had been running around the deck and I just happened to capture the moment when they were running past us. The juxtaposition was quite fortunate as the Pier Head lined up in the background along with the Manx Ferry and the Royal Iris. I have no idea who the three children were and to this day I wonder if at some point they will recognise themselves from that day, I would imagine that they would be in their 50s now.

The camera I used was a Nikon F with Kodak Tri-X film and I still have that camera. In recent years I have been reviewing my 1970s archive images and scanning them and have realized there are some quite historic and social images including the Albert Dock before it was restored, views of the Anglican Cathedral with the last terrace houses in front and other photographs around the city. I went on to become a qualified photographer and still run a business as a commercial location photographer. Here are some of my Liverpool archive examples www.bernardrosephotography.co.uk or you can follow me on Twitter @BRPimages.”

You can see Bernard Rose’s winning photograph on display now until 19 June 2016.

Our competition to find a photograph to display as part of the On the Waterfront exhibition at Merseyside Maritime Museum attracted almost 500 entries. This meant that our three judges – the exhibition curator Sarah Starkey, Ian Murphy, deputy director, Merseyside Maritime Museum and exhibition officer Katherine Lloyd – had a very tough but thoroughly enjoyable job to whittle these down to just one winning photograph for the exhibition.

Armed with a cuppa they set to work, drew up a shortlist, then after much discussion agreed on a winner – ‘Ferry Cross The Mersey 1972’ by Bernard Rose, a local photographer.

Ian said:

“We chose this image as it showed that while the waterfront is home to iconic architecture, it is also a place where people’s lives unfold.

The mixture of daily life and historic environment gives a sense of the continuing story of the waterfront, told through the people who pass through it.”

The photograph will be added to the exhibition soon.

All three judges were extremely impressed with the high quality of entries overall and some of the imaginative ways which people found to portray Liverpool’s familiar waterfront. Here you can see some of the shortlisted entries which particularly impressed them:

Could you be the next Edward Chambré Hardman? Our current On the Waterfront exhibition in the Quayside Gallery explores significant changes on Liverpool’s waterfront. Our visitors to the Merseyside Maritime Museum and the Albert Dock are part of that story, and we’d like to include you in this exhibition too!

We’d love you to share up to three photographs of Liverpool’s waterfront and how it has changed, on Twitter and Instagram using the hashtag #waterfront300. You can also enter on our website before midnight on Sunday 17 April 2016. Full terms and conditions to enter the competition are available on our website here.

The winning photograph, as chosen by our panel of judges, will be displayed in the exhibition from 20 May until 19 June 2016.

A range of John Moores Painting Prize catalogues can be seen alongside a selection of first prize-winning works in room 11 at the Walker Art Gallery

We’re now getting into the final weeks of call for entries for the John Moores Painting Prize 2016. Alongside the exhibitions, the John Moores catalogues are one of the most hotly anticipated aspects of the prize. In this blog, Ann Bukantas, Head of Fine Art at National Museums Liverpool, tells us what makes them so iconic. There’s also an opportunity to win a copy of the 2014 catalogue, signed by first prize-winning artist Rose Wylie, by clicking here.

“As well as acting as a guide and souvenir for visitors, for the exhibiting artists the catalogues offer an important legacy of their presence within the exhibition. They also provide the jurors with the opportunity to share their experience of the judging process.

When the competition was established in 1957, the catalogues were much smaller, only partially illustrated, monochrome publications. The first few were thin, brochure-like booklets which listed exhibited artists and their works, but offered little else.

Only very gradually did additional information appear, such as the 1972 ‘Notes on the Prize-winners’, which presented this inventive introduction to that year’s prevailing trend of systems-based painting: ‘Using a system is like driving across a town. You decide before you set off the route you will take (determined by the rules of the one-way system) and, using the system, you drive across.’

The cover of the 2014 catalogue, showing Rose Wylie’s first prize winning painting

It wasn’t until 1985, with the 14th exhibition, that the exhibition saw its first fully illustrated catalogue, but catalogue purchasers had to wait until 1991, when Andrzej Jackowski won the first prize, to see every exhibited work illustrated in colour. 1985 was also the year in which artists’ statements and biographies became a major component of the catalogue.

The front covers are another enduring aspect of the catalogues. Those for the years 1957 to 1987 offer a journey through graphic design history, with mostly minimal, text-based covers and including nods to Mondrian (1959), colour field painting (1965) and Pop Art (1972).

Embossed lettering lends a satisfyingly tactile element to several early covers. John Moores 7, in 1969, was an especially glamorous year, with black text on a reflective silver cover that almost doubled as a mirror.

Since Lisa Milroy won in 1989 with ‘Handles’, the first prize-winning painting has adorned most of the subsequent covers. This calls for a certain level of subterfuge in order to keep the catalogue under wraps until the exhibition has formally opened and the winner announced!”

If you’d like to take a journey through the past and present of the John Moores Painting Prize, a selection of first prize-winning paintings, together with catalogues dating back to 1957, are on display at the Walker. There’s also a selection of recent catalogues still available to purchase from our online shop.

]]>Crisis Art Competitionhttp://blog.liverpoolmuseums.org.uk/2015/05/crisis-art-competition/
Wed, 13 May 2015 15:38:44 +0000http://blog.liverpoolmuseums.org.uk/?p=7952I have always been a strong believer that art has an important role to play in society, so I am really lucky to work closely with the Walker Art Gallery and its inspiring collection of works. I recently got the opportunity to view some more inspiring art when I was asked to be involved in a competition run by run by the homeless charity Crisis.

I was invited to be a judge in the charity’s termly art competition, along with Kate Farrell, director of Crisis Skylight Merseyside. Categories for both photography and visual arts provided a diverse mix of entries for us to consider and it was fascinating to see the different approaches and styles. All the works had been created at drop in sessions run by the
charity.

The winner of the visual arts category was Jim McConnon, with a beautiful and delicate painting of poppies. Amazingly, this was Jim’s first attempt at using watercolours! The first prize for the photography went to Bernadette Davies, for a reflective and warm portrait of a young woman holding a camera. Congratulations to Jim and Bernadette!

The submissions were of a high standard and showed different skills across the group. It was interesting to read the inspiration behind each piece and to find out about the art sessions that Crisis run. It was a real insight into the incredible work that the charity does, and highlights how creativity can help to change people’s lives.

Could there be a better place to watch the recently released film ‘Effie Gray’, telling the story of the famous Victorian love triangle involving Pre-Raphaelite artist John Everett Millais, than the main hall of the Lady Lever Art Gallery?

The main hall is home to several masterpieces by the artist, including Bubbles, Spring (Apple Blossoms) and Cymon and Iphigenia – making it the perfect setting!

We have five pairs of tickets to give away to a unique screening of the film, which will take place at the Gallery on Thursday 20 November, from 6pm.

The film also features Emma Thompson, David Suchet, Julie Walters and Robbie Coltrane among the star-studded cast.

When entering the competition, please make sure that you are free to attend on Thursday 20 November. Mince pies and mulled wine will be served in the cafe from 6pm, before the screening commences at 7.15pm.